PCM Native Chamber Reverb Owner's Manual-English

Total Page:16

File Type:pdf, Size:1020Kb

PCM Native Chamber Reverb Owner's Manual-English PCM NATIVE CHAMBER OWNER’S MANUAL The Lexicon® Legacy continues... 2 ...with the PCM Native Chamber For over 40 years Lexicon® has been recognized as the gold standard of digital reverb and effects processing and has continuously introduced leading edge technology for the audio industry. Lexicon again rocked the audio industry with the introduction of the PCM Native Reverb and PCM Native Effects Plug-In Bundles, the ultimate bundles for creating professional, inspirational mixes within popular DAWs like Pro Tools®, Logic®, and any other VST®, Audio UnitTM, or RTAS ® compatible platform. With all the flexibility you would expect from native plug-ins, these powerhouse plug-ins offer legendary Lexicon processing with the most versatile and finely crafted studio presets. Designed to bring the highest level of sonic quality and functionality to all your audio applications, the PCM Native Series Plug-Ins will take center stage in your DAW. Congratulations and thank you for purchasing the PCM Native Chamber plug-in. With decades of legacy products to pull from, the PCM Native plug-ins include the finest collection of factory presets available. Designed to bring the highest level of sonic quality and functionality to all of your audio applications, the PCM Native plug-ins will take center stage in your DAW. Quick Start • Open your DAW and choose the Lexicon plug-in from your list of plug-ins • In the plug-in’s window, select a category • Select a preset • Adjust parameters (optional) • Save the preset (optional) It can be as simple or as in-depth as you’d like. The included presets work well for most situations, but you can easily adjust any parameter and save any preset. See the “Factory Presets” section for more information on editing, loading and saving presets. Included Items • PCM Native Chamber software CD • iLok license code • This manual Table of Contents Installation ............................................... 1 The Control Buttons ............................... 9 Install the Plug-in .................................... 1 Edit .................................................... 9 iLok License ............................................ 1 Compare .......................................... 9 Store .................................................. 9 First Look—The User Interface ................ 2 Edit Navigation and Full Edit Mode ....... 10 Overview ................................................ 2 The Soft Row .......................................... 11 Level Meters ...................................... 3 Customizing the Soft Row ................. 11 Preset Category ................................. 3 Input & Mix ............................................. 12 Realtime Display ................................ 3 Reverb .................................................... 13 Preset Selector .................................. 3 Reflections and Echoes .......................... 14 EQ Window ....................................... 3 Master Time Control ......................... 14 Help Button ....................................... 3 Absolute/Tempo Switch .................... 14 Fader Area ......................................... 3 Gain Polarity Switch ........................... 14 Control Buttons ................................. 3 The Realtime Display .............................. 4 Presets ..................................................... 15 Off ..................................................... 5 Loading a Preset ..................................... 15 Multiband .......................................... 5 Storing and Managing Presets ............... 16 Frequency .......................................... 5 Portable Presets...................................... 17 Impulse .............................................. 5 Where are presets stored? ..................... 18 The EQ Window ..................................... 6 Tempo Mode Presets ............................... 19 Graphic Display ................................. 7 Early/Late Selectors ........................... 7 Getting the most out of your computer .. 19 EQ Type Selector ............................... 7 Level Control ..................................... 7 Reverb Tail Behavior ................................ 19 EQ Parameters .................................. 7 The Algorithm .......................................... 22 The Fader Area ....................................... 8 Chamber ................................................. 23 Parameter Name ............................... 8 Parameter Value ................................ 8 The Parameters ....................................... 24 Modifier Button ................................. 8 Mix and Input ......................................... 24 Fader ................................................. 8 Mix ..................................................... 24 Predelay............................................. 24 Lexicon Plug-Ins & Upgrades ................... 33 Diffusion ............................................ 25 Available Lexicon Plug-Ins ...................... 33 Shape and Spread ............................. 25 Upgrading ............................................. 33 Reverb Control ....................................... 26 Size .................................................... 26 Reverb Time ...................................... 26 BassRT ............................................... 26 Bass XOV (Bass Crossover) ................ 26 RT Hi Cut ........................................... 27 RTHC Damping ................................. 27 Infinite ............................................... 27 Spin and Wander ............................... 27 Tap Slope .......................................... 28 Tail Width .......................................... 29 Reflections .............................................. 30 Rfl Delay ........................................... 30 Rfl Gain .............................................. 30 Echoes .................................................... 31 Eko Time Master ............................... 31 Eko Fbck Master ................................ 31 Eko Delay ......................................... 31 Eko FBack .......................................... 31 Eko Gain ............................................ 31 Early & Late (Reverb) Shaping ................ 32 Level .................................................. 32 Frequency .......................................... 32 Bandwidth ......................................... 32 Shelf .................................................. 32 Type ................................................... 32 Installation Install the Plug-in Insert the CD into your CD-ROM drive. The Installer should start automatically. If the Installer doesn’t start automatically, you can start it manually by opening the appropriate file on the CD: Mac®: Use the “.dmg” installation file Windows®: Use the “32-bit.exe” or “64-bit.exe” installation file Once the Installer is open, follow the on-screen instructions to install the software. iLok License You must download the license to your 2nd Generation iLok USB smart key before running any program that might use this plug-in. If a valid iLok license is not present, the initial plug-in validation scan will fail and you may not be able to run the plug-in without digging into your system. For more information go to www.iLok.com. Important! Your PCM Native Plug-in will not work without an authorized 2nd Generation iLok USB smart key inserted in your computer’s USB ! port! ! 1 First Look—The User Interface Overview When the plug-in is instantiated, you will see a window that looks something like this: Preset Category Realtime Display Preset EQ Window Selector Level Meters Help Button Fader Area Control Buttons 2 Level Meters Shows the input and output levels. Preset Category Presets for the algorithm are grouped into categories to make them easier to find. Clicking in this area will show the list of categories. Selecting a category will load the presets for that category in the Preset Selector. Realtime Display Three unique visualizations help you to see inside the reverb. This is explained in greater depth in the “Realtime Display” section of this manual. Preset Selector Displays the list of presets within the selected category. Selecting a preset from the list will cause the preset to be loaded into the plug-in. EQ Window Allows you to see the type of EQ filters that are applied to the early and late reverb signals. This is explained in greater depth in the “EQ Window” section of this manual. Help Button Click on the Help button to enable tooltip help. Then hover your mouse cursor over the button or parameter you want to know about. An explanation will appear onscreen. Fader Area Parameter values are shown and controlled in this area. This is explained in more depth in the “Fader Area” section of this manual. Control Buttons These let you access all of a preset’s parameters, manage presets, and compare changes you’ve made to the original settings. This is explained in more detail in the “Control Buttons” section of this manual. 3 The Realtime Display The realtime display window allows you to visualize the reverberation in three ways. While your ears will always be the primary tool in choosing and adjusting presets, the displays provide a direct way to see what’s going on. Click anywhere in the realtime display window to change the view. 4 Off This mode shows only the algorithm name. It is the default view for the plug-in and requires the
Recommended publications
  • LXP NATIVE REVERB BUNDLE OWNER’S MANUAL the LXP Native Reverb Bundle Brings an Inspiring Quality to Your Mixes
    LXP NATIVE REVERB BUNDLE OWNER’S MANUAL The LXP Native Reverb Bundle brings an inspiring quality to your mixes. These reverbs are not trying to imitate the real thing, they are the real thing. All four plug-ins are based on uniquely complex algorithms, and each comes with an array of presets to suit your needs. You can tailor each plug-in to your preference or let Lexicon’s trained-ear professionals do the work for you. Place just one instance of the LXP Native Reverbs into your mix, and you will soon appreciate what distinguishes Lexicon from all others. The Lexicon® legacy continues... Congratulations and thank you for purchasing the LXP Native Reverb Plug-in Bundle, an artful blend of four illustrious Lexicon® reverb plug-ins. With a history of great reverbs, the LXP Native Reverb Bundle includes the finest collection of professional factory presets available. Designed to bring the highest level of sonic quality and function to all of your audio applications, the LXP Native Reverb Bundle will change the way you color your mix forever. Quick Start 9 Choose one of the four Lexicon plug-ins. Each plug-in contains a different algorithm: Chamber (LXPChamber) Hall (LXPHall) Plate (LXPPlate) Room (LXPRoom) 9 In the plug-in’s window, select a category 9 Select a preset It can be as simple or as in-depth as you’d like. The 220+ included presets work well for most situations, but you can easily adjust any parameter and save any preset. See page 26 for more information on loading presets, and page 27 for more about saving presets.
    [Show full text]
  • User Manual Delay Tape-201
    USER MANUAL Special Thanks DIRECTION Frédéric BRUN Kévin MOLCARD DEVELOPMENT Alexandre ADAM Corentin COMTE Geoffrey GORMOND Mathieu NOCENTI Baptiste AUBRY Simon CONAN Pierre-Lin LANEYRIE Marie PAULI Timothée BEHETY Raynald DANTIGNY Samuel LIMIER Pierre PFISTER DESIGN Shaun ELWOOD Baptiste LE GOFF Morgan PERRIER SOUND DESIGN Jean-Michel BLANCHET TESTING Florian MARIN Germain MARZIN BETA TESTING Paul BEAUDOIN "Koshdukai" Terry MARSDEN George WARE Gustavo BRAVETTI Jeffrey CECIL Fernando M RODRIGUES Chuck ZWICKY Andrew CAPON Ben EGGEHORN Tony Flying SQUIRREL Chuck CAPSIS Mat HERBERT Peter TOMLINSON Marco CORREIA Jay JANSSEN Bernd WALDSTÄDT MANUAL Stephan VANKOV (author) Vincent LE HEN Jose RENDON Jack VAN Minoru KOIKE Charlotte METAIS Holger STEINBRINK © ARTURIA SA – 2019 – All rights reserved. 26 avenue Jean Kuntzmann 38330 Montbonnot-Saint-Martin FRANCE www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. Product version: 1.0.0 Revision date: 26 August 2019 Thank you for purchasing Delay Tape-201 ! This manual covers the features and operation of the Arturia Delay Tape-201 plug-in.
    [Show full text]
  • Abbey Road Chambers User Guide
    Abbey Road Chambers Reverb/Delay User Guide Contents Introduction ............................................................................................................................................... 3 Quick Start ................................................................................................................................................ 5 Signal Flow ............................................................................................................................................... 6 Components ............................................................................................................................................. 8 Interface .................................................................................................................................................. 10 Controls .................................................................................................................................................. 11 Input Section ................................................................................................................................................................................ 11 STEED Section ............................................................................................................................................................................ 11 Filters to Chamber Section ..........................................................................................................................................................
    [Show full text]
  • When I First Began Researching the Career of British Recording Icon
    the first of his “black box” spring reverb units out of a broken heater in 1957 (three years before Alan Young developed what would become the Accutronics Type 4 reverb unit for the Hammond Organ Company). It is also likely that Meek was one of the first engineers to direct inject (DI) the electric bass. As the astute reader may already have gathered, the implementation of these techniques resulted in a major paradigm shift. British pop recordings made in the mid- to late-’50s incorporated a lot of room sound. Microphones were typically placed well away from sources, and separation was achieved by keeping the musicians far apart from each other. Meek close-mic’d sources, largely eliminating the room sound, and then used compressors and limiters to tighten up those sounds and give them more punch. To compensate for the lost ambience, and sometimes to create unnatural ambient effects, Meek would send entire mixes to an echo chamber. He might have also employ tape delay (using a three-head reel-to-reel recorder). It’s quite possible that he was the first person in England to delay signals before routing them to an echo chamber, thus inventing pre-delay. Many producers resented what they perceived as Meek’s challenges to their authority, but because so many of his recordings became hits, other producers – including jazz and world-fusion pioneer Denis Preston – refused to work with anyone else. Meek was also the engineer of choice for numerous artists and record companies. When I first began researching the cutter when he was 24 and used it to cut his first record Trad jazz trumpeter Humphrey Lyttelton’s “Bad career of British recording icon Joe – a sound-effects library.
    [Show full text]
  • Space in Sound
    Understanding Space in Music A Discussion on Reverberation and Soundscape Shaun Day Capstone Spring 2012 Music & Performing Arts, Cal State Monterey Bay Table of contents . Introduction . Echo vs. reverberation . Architecture and Reverb . Recording Mediums . Physical Properties of Reverb . Types of Reverb . Capitol Studios Echo Chamber . Digital Reverb . Convolution Reverb . Delay . Types of Delay . The Beatles Influence on Recording Technology . Wall of Sound Technique . Conclusion Introduction The world of modern music and sound production has changed drastically over the last decade with the introduction of digital recording technology and signal processing techniques. The art of music production incorporates the use of many tools and techniques in order to recreate/emulate a pre-existing sound environment. Spatial imagery in music adds a new dimension to the unique character of the sound source or original musical idea. When we listen to a recording of our favorite band, we are hearing an illusion or recreation of a live performance. Because our ears are constantly analyzing and perceiving individual sound sources in a real environment, the human mind interprets these spatial cues in music as natural audible anomalies. For example, if we were to compare the acoustics of an opera house to the confined sounds of small room, we know through instinctive knowledge that both these sound environments will reflect sound differently because of their size and spatial contour. The goal of this essay is to discuss the importance of spatial reproduction in music, including an analysis on spatial location versus the aesthetic experiences from the listener. Panning choices and using the many advantages of the stereo spectrum (left- right) adds a new dimension to the character of an originating sound source.
    [Show full text]
  • Phil Spector and the Wall of Sound by Steven Quinn a Thesis Presented To
    Phil Spector and the Wall of Sound by Steven Quinn A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College Spring 2019 Phil Spector and the Wall of Sound by Steven Quinn APPROVED: ____________________________ Name of Project Advisor List Advisor’s Department ____________________________________ Name of Chairperson of Project Advisor List Chair’s Department ___________________________ Name of Second Reader List Second Reader’s Department ___________________________ Dr. John Vile Dean, University Honors College OR (NOT BOTH NAMES) Dr. Philip E. Phillips, Associate Dean University Honors College 2 Acknowledgments A special thank you to my thesis mentor John Hill and my second reader Dan Pfeifer for all of their help and support. I also want to say thank you to the faculty at MTSU who helped me out along the way. A thank you to my parents for all of their encouragement and everyone who helped me create this project by playing a part in it. Without your endless support and dedication to my success, this would have never been possible. Abstract Phil Spector was one of, if not the most influential producer of the 1960s and was an instrumental part in moving music in a new direction. With his “Wall of Sound” technique, he not only changed how the start of the decade sounded but influenced and changed the style of some of the most iconic groups ever to exist, including The Beach Boys and the Beatles. My research focused on how Spector developed his technique, what he did to create his iconic sound, and the impact of his influence on the music industry.
    [Show full text]
  • Real Time Special Effects Generation and Noise Filtration of Audio Signal Using Matlab Gui
    International Journal on Computational Science & Applications (IJCSA) Vol.5,No.6, December 2015 REAL TIME SPECIAL EFFECTS GENERATION AND NOISE FILTRATION OF AUDIO SIGNAL USING MATLAB GUI Saurabh R Prasad 1, Pawan K. Gaikwad 2 and Yashwant V Joshi 3 1Department of Electronics and Telecommunication Engineering, DKTE Society’s Textile and Engineering Institute, Ichalkaranji, India 2Department of Electronics, Shivaji University, Kolhapur, India and 3Department of Electronics and Telecommunication Engineering, SGGS Institute of Engineering and Technology, Nanded, India ABSTRACT Digital signal processing is being increasingly used for audio processing applications. Digital audio effects refer to all those algorithms that are used for enhancing sound in any of the steps of a processing chain of music production. Real time audio effects generation is a highly challenging task in the field of signal processing. Now a day, almost every high end multimedia audio device does digital signal processing in one form or another. For years musicians have used different techniques to give their music a unique sound. Earlier, these techniques were implemented after a lot of work and experimentation. However, now with the emergence of digital signal processing this task is simplified to a great extent. In this article, the generations of special effects like echo, flanging, reverberation, stereo, karaoke, noise filtering etc are successfully implemented using MATLAB and an attractive GUI has been designed for the same. KEYWORDS Musical Signal Processing, Audio effects, Reverberation, Echo, Stereo Panning, Noise Filtration 1.INTRODUCTION Signal Processing is such a broad field that it almost entirely covers electronics. It can be classified in two main categories, analog signal processing and digital signal processing.
    [Show full text]
  • Cupwise Real Spaces- “Echo Chamber” Reverbs I: Chambers Of
    CupwiseCupwise RealReal Spaces-Spaces- ““EchoEcho Chamber”Chamber” ReverbsReverbs I:I: ChambersChambers ofof MythMyth General Info This is the first entry in what will be a series of releases sampled in real spaces. This one has a focus on echo chambers. What is an echo chamber? An echo chamber is a reverberant real space, which is used to add reverb (rather than distinct echoes- the name “echo chamber” is a bit of a misnomer) to any audio signal. This is done by playing the signal into the space from at least one speaker, and picking up the audio from that space with at least one microphone. The speaker/mic are usually arranged such that very little signal can travel directly between them, with the sound waves having to bounce off of the walls (becoming diffuse) at least once before reaching the mic(s). In other words, mostly just the reverberation of the space itself is captured. This new, reverb heavy aka “wet” signal can then be mixed back in with the original dry audio to taste. This method was actually used to get reverb effects into recordings before any of the more artificial methods (plates, springs, digital units) became common. Famous examples include the fabled chambers at Capitol Records which are still in use today, Phil Spector's chamber(s) at Gold Star Studios, and 3 chambers at Abbey Road Studios. It's not too common for a studio to have a dedicated, purpose-built echo chamber these days, but some still do. Some will utilize a kitchen, lounge, bathroom, hallway, or other space as a make-shift echo chamber on occasion.
    [Show full text]
  • “Singing in the Echo Chamber”
    E RIC NUZUM “SINGING IN THE ECHO CHAMBER” MUSIC CENSORSHIP IN THE U.S. AFTER SEPTEMBER 11TH “SINGING IN THE ECHO CHAMBER?” Music Censorship in the U.S. After September 11th by ERIC NUZUM Published by Freemuse Editor in Chief: Marie Korpe ISSN 1601-2127 Layout: Sigrún Gudbrandsdóttir Cover: Robert Ruiz/ Shreveport Times Printed in Denmark 2005 by Handy-Print © Freemuse 2005 The views in the report do not necessarily represent the views of Freemuse. Report no. 05/2005 Freemuse Nytorv 17 1450 - Copenhagen K. - Denmark tel: +45 33 32 10 27 fax: +45 33 32 10 45 e-mail: [email protected] web: www.freemuse.org OTHER PUBLICATIONS BY FREEMUSE 1st World Conference on Music and Censorship (2001, ISBN: 87-988163-0-6) “Can you stop the birds singing?” – The Censorship of Music in Afghanistan, by John Baily (2001, ISSN: 1601-2127) “A Little Bit Special” – Censorship and the Gypsy Musicians of Romania, by Garth Cartwright (2001, ISSN: 1601-2127) Playing With Fire – Fear and Self-Censorship in Zimbabwean Music, by Banning Eyre (2001, ISSN: 1601-2127) ”Which way Nigeria?” – Music under threat: A Question of Money, Morality, Self-censorship and the Sharia (also available in French) By Jean Christophe Servant (2003, ISSN: 1601-2127) Contents Preface 5 Executive Summary 7 Introduction 9 Section One: Free expression in America and the events of September 11th 18 Section Two: Incidents of music censorship in the wake of September 11th 24 Section Three: Protest music, musician activism, and censorship during the war on terror 31 Section Four: Other implications 46 Index 56 Bibliography 59 Notes 62 PREFACE Freemuse has not previously focused on the Land of the Free.
    [Show full text]
  • Sam Phillips´ Slap Back Echo; Luckily in Mono
    Tor Halmrast: Sam Phillips´ Slap Back Echo; Luckily in Mono Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Halmrast. T, (2019). Sam Phillips´ Slap Back Echo; Luckily in Mono. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 137-154). Stockholm: Royal College of Music (KMH) & Art of Record Production. Tor Halmrast: Sam Phillips´ Slap Back Echo; Luckily in Mono Abstract ‘Slap back echo’ was created by Sam Phillips for Elvis Presley´s Sun recor- dings and later simulated by RCA. Using cepstrum and autocorrelation, we find that the tape delay used in Sun Studios was 134 - 137 ms, which is so long that the echo is perceived mainly as a distinct echo in the time domain, more than a coloration of timbre in the frequency domain. Even though the delay time is long, the echo is still perceived as rather “intimate”, because the echo is in mono. Panned in stereo, the feeling of being inside a quite small room would disappear. The simulations by RCA, using a hallway instead of tape echo, shows somewhat shorter and less pronounced delays. Introduction Elvis Presley´s first recordings were done by Sam Philips in Sun Studios in Memphis. He created a tape echo by using two Ampex 350 tape recorders. This method was used for, amongst others, Tryin´ to Get to You, and Baby Let´s Play House from 1955. The story goes that when Elvis changed to the bigger company RCA Victor´s studio on McGavock St., Nashville, “RCA was anxious to recreate the ‘slapback’ echo effect that Sam Phillips had created at Sun.
    [Show full text]
  • Unit Iii - Rock, Electronic Music and the Recording Instustry
    74 UNIT III - ROCK, ELECTRONIC MUSIC AND THE RECORDING INSTUSTRY A. Audio-Visual Materials: Recordings and Filmstrips Used in Unit III B. Lessons 1. Pop Music in the 1950's and 60's (Filmstrips) 2. Rhythm and Blues and Early ROCK and Roll 3. Rock and Roll as Teenage Music 4. The Innovations of The Beatles 5. Gospel and Soul 6. Pop Music in the 1970's (Filmstrips) 7. Other Trends in 1970's Rock 8. How Electronic Music is Produced (Filmstrips) 9. How a Recording is Made (Filmstrips) 10. Review 11. Exam Doc. 0478B/Page 1 75 RECORDINGS AND FILMSTRIPS USED IN UNIT III (60) Lesson 1 Pop Music in America EAV Filmstr ips Parts ~4 and 6 Lessons 2-3 History of Rhythm and Blues, Volume 2 Atlantic SD 8162 Elvis - The '56 Sessions RCA PL 42101 Chuck Berry's Greatest Hits Everest FS 321 Bill Haley and the Comets Springboard SPB-4066 Beach Boys - Surfin' U.S.A. or equivalent Lesson 4 Magical Mvstery Tour Capital 2835 Sergeant Pepper's Lonely Hearts Capital 2835 Club Band Beatles - White Album Capital SWB 0101 Lesson 5 The Mighty Clouds of Jov Peacock 121 The Gospel Soul of Aretha Franklin Checker 10009 History of Rhythm and Blues, Volume 2 Atlantic SD 8162 Motown - ~he First Decade Motown'MS 731 Lesson 6 Pop Music in the 70's EAV Filmstrips ~l and 2 Lesson 7 Led zeppelin Atlantic SD 19129 Bruce Springsteen - Born to R~n Columbia 33795 Chic - Le Freak Atlantic 3519 B 52's - ROCK Lobster Warner BSK 3355 Lesson 8 Electronic Music EAV Filmstrips ~l Lesson 9 How a Recording is Made EAV Filmstrips ~l and 2 Doc.
    [Show full text]
  • RECORDING Engineer /Producer Relating Recording Science to Recording Art to Recording Equipment
    VOLUME 3 - NUMBER 3 MAY /JUNE 1972 $1.00 RECORDING engineer /producer relating recording science to recording art to recording equipment RECORDING SONNY & CHER AT LAR RABEE SOUND www.americanradiohistory.com 16 & 24 MULTI CHANNEL DOLBY CARD ASSEMBLIES.... NEED IT? CALL - 216:655 -2400 DANIEL N. FLICKINGER & ASSOCIATES, INC. 40 SOUTH OVIATT STREET HUDSON, OHIO 44236 (216) 655 -2400 www.americanradiohistory.com VOLUME 3 - NUMBER 3 MAY /JUNE 1972 RECORDING engineer /producer -the magazine to exclusively serve the recording studio market ... all those whose work involves the re- cording of commercially market- able sound. 'SIMULTANEOUS OVERDUBBING' RECORDING SONNY & CHER -the magazine produced to relate .. RECORDING ART to RE- AT LARRABEE SOUND 11 Barry Rudolf CORDING SCIENCE ... to RECORDING EQUIPMENT. WHAT HAPPENS WHEN YOU CERAMIC TILE AN ECHO CHAMBER 17 Don Foster Editor /Publisher MARTIN GALLAY Engineering Editors RON MALO NEED 24 TRACKS - 32 TRACKS -00? WILLIAM ROBINSON TRY USING TWO TAPE CHUCK DAVIS Business/ Circulation MACHINES IN SYNC 23 Guy Costa Manager V. L. GAFFNEY Art Director GERRY SADOWSKI A $5.00 LINE AMP 29 Chuck Davis RECORDING engineer /producer is published bi- monthly and is sent free to qualified recipients in the United Letters & Late News 8 States. Subscriptions tor other than qualified individuals or companies New Products 31 may be purchased at $5.00 per year. Classified 36 (All foreign subscriptions: $6.00 per year.) Material appearing in Re /p Cartoon 39 may not be reproduced without writ- ten permission of the Publisher. RECORDING engineer,'producer is not responsible for any claim made by any person based upon the publica- tion by RECORDING engineer /pro- ducer of material submitted for pub- lication.
    [Show full text]